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Showing posts from May, 2009

Taney Roniger at Slate Gallery | Review by David Gibson

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There is something very obstinate yet enduring in the work of Taney Roniger. Her recent exhibition “Stones and Ciphers” at Slate Gallery in Brooklyn brings together two bodies of work which share a similar aesthetic interest informed by scientific ideas. They manage a specific aspect of abstraction in which method is equal to madness. How else are we to perceive the finitude which characterizes this work, in which all color is limited to hues of black, white, gray, and sometimes sepia, as if the painting were no more than the printout of some military-industrial computer bank? Roniger doesn’t need words to transmit the values in her paintings. Perhaps because she wants to achieve the status of a document or an artifact--both products of excessive effort and detritus relevant to the passing of time.
We look into these images and we see both information and mystery. It makes perfect sense for an artist to be attracted to matters of abstract reality, yet the degree to which Roniger has …

Interview with Gary Panter | By Jill Conner

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In 2008 Gary Panter returned alternative comics back to the mainstream with “Daydream Trap,” at the Aldrich Museum, “Pictures from the Psychedelic Swamp, 1972-2001,” at the Clementine Gallery, along with a 2-volume catalogue raisonne covering his work from the early 1970s and “Cola Madnes,” that features the ongoing adventures of Jimbo. With “Dal Tokyo,” set to come out in October 2009, Panter continues to mesmerize fans and viewers with a facet of visual culture’s underground that has thrived within America since the early 20th-Century.
In the 1950s, the American government conflated the popularity of comics with the rise of Communism and even blamed these mass-published strips for contributing to the corruption of youth culture. The Comic Magazine Association of America (CMAA) formed to create a new set of standards, known as the Comic Code, which set out to delimit every artist who worked in the industry, taking away creative freedom in favor of publishing structured plot lines.

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